Nile Rodgers Pulls Prince-Inspired Song From Upcoming Chic LP

Nile Rodgers revealed that he pulled a Prince-inspired song from Chic‘s upcoming new song because “it felt wrong.”

“The last two times I saw Prince was playing on stage with him and then him coming to my show,” Rodgers told Pitchfork before Chic’s Glastonbury set.

“So the album was talking about that. As a matter of fact, there is a song on the album that the working title is ‘Prince Said It,’ and it was about my conversations with Prince. But after he passed away, it felt wrong. It felt uncomfortable.”

Rodgers continued, “From the time that I started to work on this album, a lot of heavy things have happened. I mean, David Bowie died. Prince died. People who were really, really close to me passed away, and that wasn’t supposed to be part of the narrative.”

In December 2016, Rodgers revealed that he wanted to release the new Chic album in 2017 because it marked the band’s 40th anniversary. He also admitted he didn’t want the album to arrive the same year that Bowie and Prince – “We were really buddies,” Rodgers said of Prince – died.

“I purposely didn’t finish stuff off because there are a lot of artists who wanted to do features with us that we just didn’t get to.” Rodgers said, adding the LP will have a joyful vibe. “We write happy songs and it’s nice to tell people that we’re happy, even if there’s double entendre going on to reflect the times that we’re living in,” he says. “So on the surface, it’s joyous. Underneath, when you listen to the lyrics, you may go, ‘Oh, that’s what they’re really saying.'”

Rodgers also promised that new Chic album would come with a ” big surprise”; it’s unclear if that was referring to the Prince-inspired song or something else.

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Q-Tip Pays Tribute to Mobb Deep's Prodigy on Beats 1 Radio Show

Q-Tip paid tribute to Mobb Deep’s Prodigy on his Beats 1 radio show with a two-hour play list dedicated to the rapper’s classic tracks. Prodigy died Tuesday at the age of 42.

“We lost a great one, man,” Q-Tip said of Prodigy during the opening of his Abstract Radio show, which can be heard here.

“We lost a big one. I’m about to take y’all through the zone…you know what it is. Prodigy from Mobb Deep. Rest in peace. Rest in power to the brother…his whole family. The whole Johnson Family and all that. Celebrating the life and the legacy of Mobb Deep’s Prodigy. We love you, baby.”

The Tribe Called Quest rapper was an early supporter of Mobb Deep; on the duo’s 1995 classic The Infamous, Q-Tip produced “Give Up the Goods (Just Step)” and “The Temperature’s Rising” and appeared on “Drink Away the Pain (Situations).”

On Twitter, Q-Tip said following Prodigy’s unexpected death Tuesday, “Man I’m rocked by the news of my man P passing… So many memories w him n Havoc n the fellas.. Man I’m [at] a loss… Life is a gift. P was a gift to his fam and the rap world.”

Havoc, Prodigy’s partner in Mobb Deep, said, “I’m still just fucked up. I can’t even listen to ‘Shook Ones’ or any song. I can hardly look at the pictures… I still can’t believe it.”

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Tool Explore Outsized Ambitions at Massive San Bernardino Concert

Saturday night, tens of thousands of people filled San Bernardino’s Glen Helen Amphitheater to hear Tool play a song about California sinking into the sea. While the band hasn’t released a note of new music in 11 years, their audience has only snowballed, and the group used a date on their current tour to play their largest non-festival headlining show ever. For their part, they delivered a whopping 15-song set – their longest of the tour.

This victory lunge also meant a long parade of high-profile alterna-metal opening acts that played from the broiling afternoon to just around sundown. These bands, like Tool, found unlikely success in the unlikely Nineties performing headbanger fare with varying degrees of uncompromising strangeness. 

The Melvins played a cubist metal version of the Beatles’ “I Wanna Hold Your Hand” with disorienting held notes. Screeching and jabbering and crooning vocalist Mike Patton of Fantômas performed an ADD ballet cycling between two vocal mics before playing a demented version of Henry Mancini’s music to 1963 film Charade

Clutch’s Neil Fallon strutted like a stoner-rock R&B singer and smacked a cowbell for “D.C. Sound Attack!,” a hybrid of his band’s sludge-blooze and the percussive clatter of Washington D.C. go-go music. Primus tweaked their funky art-metal with the cosmic Floydisms and Deadisms of leader Les Claypool’s late-career dive into the jam band scene. You could argue they played it the safest by sticking to the hits, but those hits are about a pet beaver and a baseball bat murder.

Whether due to the insular feel of a spotlight shunning band or the muso complexities of their prog-metal, the four members of Tool do not strut around the stage like U2 or the Stones. Singer Maynard James Keenan actually performs in the back by Danny Carey’s drums, spending the entire show as a shadow: His silhouette throughout the night was part insect, part combat training video, part Weeble and part organizer with a megaphone.

Tool’s visuals had to do a lot of the heavy lifting, and, luckily, they only get better as the band’s popularity catches up to their song durations. Blue lights shot into the night sky for “The Grudge,” lasers scattered into chaos for “Ænema,” kaleidoscopic animations throbbed in time to the screams and car alarm guitar of “Third Eye.” 

#tool #sanbernadoobie

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The art of Alex Grey, which examines the physical and metaphysical, was blown up on screens that must have been 25 or 30 feet high. The most ambitious day of music from one of arena rock’s most ambitious bands was not above smoke and confetti either.

And, musically, the band provided plenty of outsized moments to match the outsized visuals: The riff to “Jambi” was crushing, they burned through a version of “Third Eye” (more than 13 minutes in recorded form), and Carey even got a three-minute drum solo which went from techno-fried 7/8 to nimble tumble.

Set List
“The Grudge”
“Parabol”
“Parabola”
“Schism”
“Opiate”
“Ænema”
“Descending”
“Jambi”
“Third Eye”
“Forty-Six & 2”
Drum Solo
“The Pot”
“Vicarious”
“Sweat”
“Stinkfist”

If you like Tool, I like you. #tool #dannycarey #maynard #justinchancellor #adamjones

A post shared by Pramod Setlur (@_y_y_zed) on Jun 25, 2017 at 3:46am PDT

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The Head and the Heart: Music Will Be More 'Meaningful' in Trump Era

Seattle indie rockers the Head and the Heart are one of the best-traveled bands in America at the moment: in 2017 alone, they’re playing Coachella, Lollapalooza, Bonnaroo, Austin City Limits, and just about every other big-name festival in the country.

Those festivals might not even exist if the 1967 Monterey International Pop Festival hadn’t been a massive success. That festival, a blueprint for Woodstock and all that followed, marked the first time promoters realized fans would pay to see a long list of bands over the course of one weekend. (It helped that the weekend in question included iconic performances by Jimi Hendrix, Janis Joplin, the Who, and others.)

“I think the gravity of what we’re about to do sunk in just now when we had a rehearsal with Michelle Phillips of The Mamas and the Papas,” the Head and the Heart’s singer-guitarist Jonathan Russell told Rolling Stone (inside the Levi’s Outpost lounge) on Sunday afternoon, shortly before the band’s set at the festival’s 50th anniversary. “You don’t get too many chances to sing with legends like that. It’s just an honor to be here.”

Your most recent studio album, Signs of Light, was the first you’ve recorded in the Bay Area – at the secluded Panoramic Studios in Stinson Beach. How does the physical place where you’re writing and recording affect your records?
Chris Zasche (bass): I think this was about finding a place to match the songs – hearing the demos that Jon was sending initially, it felt like it was leaning toward a sunny record. The record before this was a blue record; this was yellow. And then the vibe of [the studio], on the beach – it became like a seventh band member.
Charity Rose Thielen (violin, guitar, vocals): It meant leaving Seattle to record for the first time, and I think we were all ready to do that – weather-wise, otherwise. We first heard about that studio from the My Morning Jacket crew: out in the middle of nowhere but also close enough to the city, sunny weather, and the road has all these hidden little turnoffs. It was perfect.

You’re one of several younger bands who’ve been asked to pay homage to some rock & roll elders. Are you thinking about how to do celebrate the spirit of 1967 without just slipping into straight nostalgia?
Jonathan Russell: I was thinking, walking around [the festival earlier], that the bar was set a little too high: who’s gonna be able to recreate Janis Joplin coming out here? Who even wants to try? But as I’ve been watching the music it’s like, no. That’s not the point. Other amazing things can happen, though. And if they’re laced with a little nostalgia, so be it.
Charity: It’s a tough balance to do tastefully. But on the other hand, that’s why we’re all here in the first place – that’s why we play music, at the heart of it. And celebrating counterculture, the love generation – it all feels so applicable now with what’s happening among young people, especially in our current political situation. We’re all becoming activists.

You’re not exactly a political band, though – as of yet.
Jonathan: No, but I think we seem to put people more in tune with themselves in a way that can help people go through phases of their lives that are struggles, whether political or not. Sometime you don’t even know what a song is about until you meet people who say “Oh, I was going through that too,” and you realize there are these common, universal struggles. And I think our music somehow gives people permission to talk about some of that out loud.
Chris: I’ve been listening to a lot of U2, and thinking about how that era was during hardcore Reaganism, and at a time when [music] was really about excess … and then there was this band that came out and spoke about things with actual meaning and depth, confronting the political turmoil in this country. I think we’re in similar times now as we maybe were during the original Monterey Pop, with the anti-war movement, and those are times when timeless art and music is created. There’s not a lot of fluff happening. You ever think about what was going on when Britney and the Backstreet Boys came out? Things were good! Everyone was happy, and that’s what you get. I think we’re entering another time where music is gonna get more meaningful.

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